Theater Review: At WHAT, ‘Paul And Émile’ Tackles The Big Questions

Émile Zola paints stories with words, Paul Cezanne writes them with oils, and they used to be the closest of friends. But it’s been years. They’ve matured and established themselves as artists without each other. Is there anything left to share?

 “Paul and Émile” (subtitled “or The Masterpiece”), by Kai Maristed, explores a scenario in which the two artists are reunited in Cezanne’s studio. The Wellfleet Harbor Actors Theater presents the world premiere of the play through Oct. 12.

Light itself is a character in this play. The audience walks in to see a stage totally dark except for the ghost light. Then, as the action begins, Zola (Abe Goldfarb) appears in a spotlight, in a swirl of Paris smog. Finally, all the lights come up and the studio of Cezanne (Todd Scofield) is revealed as an elegant space with Oriental rugs, nice furniture, an indoor toilet, a big window for north light (which also sometimes projects the artist’s paintings), and a rickety ladder that reaches up toward something that hangs on the opposite wall from the window, hidden by a curtain. Also, there’s a crucifix and some skulls.

The two principals (dressed beautifully by costume designer Carol Sherry) circle and strike like tomcats, mostly in words but sometimes in deeds, fueled by generous pours from the decanter as they try to work out who they are to one another. Occasionally, Cezanne rings a handbell to summon Mamselle (Anna Marie Sell), a sometimes-cheeky young maidservant; she functions as an Everyperson for the rest of us mortals. Her role seems meek and yet, in the end she will occupy the same powerful downstage left spotlight in which Zola opened the narrative. For just as Cezanne reveals something important about himself to Zola, Mamselle enters the studio — for once, unbidden by the bell — to reveal something important about Zola to Cezanne. To say any more would truly spoil the plot.

Some significant exchanges in the play revolve around Zola’s famous “J’Accuse” letter, an account of the trial of Alfred Dreyfus, a French army officer accused of treason, probably only because he was Jewish. He served time but eventually was exonerated and even returned to duty.

Director Sasha Brâtt and scenic, lighting and projection designer Christopher Ostrom, as well as the actors and even “movement and fight” choreographer Constantine Baecher, deserve praise for bringing robust life to a thoughtful script, which, intense as it is, runs without an intermission.

 “Paul and Émile” is a play for an audience that wants to think about questions. What is faith? What is friendship? What is seeing? What is literature? What is death? What is the denial of death? Before we die, though, what would be the reason to trade art about a blue sky and white clouds and, well, more, for a basket of apples? What do we want to do before the last time we ever see a friend?

 “Have you ever had a friend?” someone asks. This play wants you to think about that — and maybe talk in depth with the ones you want in your life.

Concurrent with the play, The Gallery at WHAT, on the second floor of the theater, presents what it calls “a salon-style exhibition inspired by Cezanne’s still-life works” Sept. 18 to Oct. 19. Patrons can enjoy both the paintings, and the refreshments they buy in the lobby downstairs, while they sit at high-top tables.